Motown

This article is about the record label. For the city known by that name, seeDetroit.For other uses, seeMotown (disambiguation).

"Tamla" redirects here. For people named Tamla, seeTamla (given name).

Motownis an Americanrecord labelowned by theUniversal Music Group.Founded byBerry Gordy Jr.andQuincy Jonesas Tamla Records on January 12, 1959,it was incorporated as Motown Record Corporation on April 14, 1960.Its name, aportmanteauofmotorandtown,has become a nickname forDetroit,where the label was originally headquartered.

Motown Records
Parent company	Universal Music Group(UMG)
Founded	January 12, 1959(1959-01-12)
Founder	Berry Gordy Quincy Jones
Distributor(s)	Interscope Capitol Labels Group (United States) Motown UK/EMI (United Kingdom) Island Def Jam(France) UMe(reissues)
Genre	Various
Country of origin	United States
Location	Los Angeles,California,U.S.
Official website	motownrecords

Motown played a vital role in theracial integrationofpopular musicas anAfrican American-owned label that achievedcrossoversuccess with white audiences. In the 1960s, Motown and its subsidiary labels (includingTamla-Motown,the brand used outside the US) were the most prominent exponents of what became known as theMotown sound,a style ofsoul musicwith a mainstreampop-influenced sound and appeal. Motown was the most successful soul music label, with a net worth of $61 million. Between 1960 and 1969, Motown had 79 songs reach the top-ten of theBillboardHot 100.

Following the events of theDetroit Riots of 1967,and the loss of key songwriting/production teamHolland–Dozier–Hollandthat year over royalty disputes, Gordy moved Motown to Los Angeles, California and it expanded into film and television production. It was an independent company untilMCA Recordsbought it in 1988.PolyGrampurchased the label from MCA in 1993, followed by MCA successor Universal Music Group, which acquired PolyGram in 1999.

Motown spent much of the 2000s headquartered inNew York Cityas a part of the UMG subsidiariesUniversal MotownandUniversal Motown Republic Group.From 2011 to 2014, it was a part ofThe Island Def Jam Music Groupdivision of Universal Music.In 2014, however, UMG announced the dissolution of Island Def Jam, and Motown relocated back to Los Angeles to operate under theCapitol Music Group,now operating out of theCapitol Tower.In 2018, Motown was inducted intoRhythm and Blues Music Hall of Famein a ceremony held at theCharles H. Wright Museum.

In 2021, Motown separated from theCapitol Music Groupto become a standalone label once again.On November 29, 2022,Ethiopia Habtemariamannounced that she would be stepping down as chairwoman/CEO of Motown.As of 2023, acts signed to Motown includeCity Girls,Diddy,Migos,Lil Baby,Lil Yachty,Smino,Vince Staples,YoungBoy Never Broke Again,and several other artists in thehip hopandR&Bgenres.

History

Beginnings of Motown

Berry Gordy's interest in the record business began when he opened a record store called the 3D Record Mart, a shop where he hoped to "educate customers about the beauty of jazz", inDetroit,Michigan.Although the shop did not last very long, Gordy's interest in the music business did not fade. He frequented Detroit's downtown nightclubs, and in the Flame Show Bar he met bar manager Al Green (not thesoul singer of the same name), who owned a music publishing company called Pearl Music and represented Detroit-based musicianJackie Wilson.Gordy soon became part of a group of songwriters—with his sisterGwen GordyandBilly Davis—who wrote songs for Wilson. In November 1957, "Reet Petite"was released and became their first major hit.During the next eighteen months, Gordy helped to write six more Wilson A-sides, including "Lonely Teardrops",a peak-popular hit of 1958. Between 1957 and 1958, Gordy wrote or produced over a hundred sides for various artists, with his siblings Anna, Gwen and Robert, and other collaborators in varying combinations.

TheHitsville U.S.A.Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985

In 1957, Gordy metSmokey Robinson,a local seventeen-year-old singer fronting a vocal harmony group called the Matadors. Gordy was interested in thedoo-wopstyle that Robinson sang. In 1958, Gordy recorded the group's song "Got a Job" (an answer song to "Get a Job"bythe Silhouettes), and released it as a single by leasing the record to a larger company outside Detroit calledEnd Records,based in New York. The practice was common at the time for a small-time producer. "Got a Job" was the first single by Robinson's group, now calledthe Miracles.Gordy recorded a number of other records by forging a similar arrangement, most significantly withUnited Artists.

In 1958, Gordy wrote and produced "Come to Me"forMarv Johnson.Seeing that the song had great crossover potential, Gordy leased it to United Artists for national distribution but also released it locally on his own startup imprint.Needing $800 to cover his end of the deal, Gordy asked his family to borrow money from a cooperative family savings account.After some debate, his family agreed, and in January 1959 "Come to Me" was released regionally on Gordy's new Tamla label.Gordy originally wanted to name the label Tammy Records, after the hitsongpopularized byDebbie Reynoldsfrom the 1957 filmTammy and the Bachelor,in which Reynolds also starred. When he found the name was already in use, Berry decided on Tamla instead.In April 1959, Gordy and his sister Gwen founded Anna Records which released about two dozen singles between 1959 and 1960. The most popular was Barrett Strong's "Money (That's What I Want)",written by Gordy and a secretary namedJanie Bradford,and produced by Gordy.Many of the songs distributed locally by Anna and Tamla Records were nationally distributed byChess Records(sometimes with Anna and Tamla imprints). Gordy's relationship with Chess fostered closer dealings withHarvey Fuqua,nephew of Charlie Fuqua ofthe Ink Spots.Harvey Fuqua later married Gwen Gordy in 1961.

Gordy looked toward creative self-sufficiency and established the publishing firm Jobete in June 1959 (incorporated in Michigan). He applied for copyrights on more than seventy songs before the end of 1959, including material used for the Miracles and Frances Burnett records, which were leased to Chess andCoral Records.TheMichigan Chronicleof Detroit called Gordy an "independent producer of records", as his contributions to the city were beginning to attract notice. By that time, he was the president of Jobete, Tamla, and the music writing company Rayber.

Gordy worked in various Detroit-based studios during this period to produce recordings and demos, but most prominently withUnited Sound Systemswhich was considered the best studio in town. However, producing at United Sound Systems was financially ta xing and not appropriate for every job, so Gordy decided it would be more cost effective to maintain his own facility.In mid-1959, he purchased a photography studio at 2648 West Grand Boulevard and converted the main floor into a recording studio and office space. Now, rather than shopping his songs to other artists or leasing his recordings to outside companies, Gordy began using the Tamla and Motown imprints to release songs that he wrote and produced. He incorporated Motown Records in April 1960.

Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" ). Several ofGordy's family members,including his father Berry Sr., brothers Robert and George, and sister Esther, were given key roles in the company. By the middle of the decade, Gwen and Anna Gordy had joined the label in administrative positions as well. Gordy's partner at the time (and wife from 1960 to 1964),Raynoma Liles,also played a key role in the early days of Motown, leading the company's first session group, The Rayber Voices, and overseeing Jobete.

West Grand Boulevard

The studio that Gordy purchased in 1959 would become Motown'sHitsville U.S.A.studio. The photography studio located in the back of the property was modified into a small recording studio, and the Gordys moved into the second-floor living quarters. Within seven years, Motown would occupy seven additional neighboring houses:

• Hitsville U.S.A., 1959 – (ground floor) administrative office, tape library, control room, Studio A; (upper floor) Gordy living quarters (1959–62), artists and repertoire (1962–72)
• Jobete Publishing office, 1961 – sales, billing, collections, shipping, and public relations
• Berry Gordy Jr. Enterprise, 1962 – offices for Berry Gordy Jr. andEsther Gordy Edwards
• Finance department, 1965 – royalties and payroll
• Artist personal development, 1966 –Harvey Fuqua(head of artist development and producer of stage performances),Maxine Powell(instructor in grooming, poise, and social graces for Motown artists), Maurice King (vocal coach, musical director and arranger),Cholly Atkins(house choreography), and rehearsal studios
• Two houses for administrative offices, 1966 – sales and marketing, traveling and traffic, and mi xing and mastering
• ITMI (International Talent Management Inc.) office, 1966 – management

Motown had hired over 450 employees and had a gross income of $20 million by the end of 1966.

Detroit: 1959–1972

Early Tamla/Motown artists includedMable John,Eddie HollandandMary Wells."Shop Around",the Miracles' first number 1 R&B hit, peaked at number two on theBillboardHot 100in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later,the Marvelettesscored Tamla's first US number-one hit, "Please Mr. Postman".By the mid-1960s, the company, with the help of songwriters and producers such as Robinson,A&RchiefWilliam "Mickey" Stevenson,Brian Holland,Lamont Dozier,andNorman Whitfield,had become a major force in the music industry.

From 1961 to 1971, Motown had 110top 10hits. Top artists on the Motown label during that period includedthe Supremes(initially includingDiana Ross),the Four Tops,andthe Jackson 5,whileStevie Wonder,Marvin Gaye,the Marvelettes,andthe Miracleshad hits on the Tamla label. The company operated several labels in addition to the Tamla and Motown imprints. A third label, whichGordynamed after himself (though it was originally called "Miracle" ) featuredthe Temptations,the Contours,Edwin Starr,andMartha and the Vandellas.A fourth,V.I.P.,released recordings bythe Velvelettes,the Spinners,the Monitors,andChris Clark.

A fifth label,Soul,featuredJr. Walker & the All Stars,Jimmy Ruffin,Shorty Long,the Originals,andGladys Knight & the Pips(who had found success before joining Motown, as "The Pips" onVee-Jay). Many more Motown-owned labels released recordings in other genres, includingWorkshop Jazz(jazz)Earl WashingtonReflections and Earl Washington's All Stars,Mel-o-dy(country, although it was originally an R&B label), andRare Earth,whose acts, includingthe eponymous band,explored blues-oriented andprogressive rockstyles.Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.

Smokey Robinson said of Motown's cultural impact:

Into the 1960s, I was still not of a frame of mind that we were not only making music, we were making history. But I did recognize the impact because acts were going all over the world at that time. I recognized the bridges that we crossed, the racial problems and the barriers that we broke down with music. I recognized that because I lived it. I would come to the South in the early days of Motown and the audiences would be segregated. Then they started to get the Motown music and we would go back and the audiences were integrated and the kids were dancing together and holding hands.

Berry Gordy House, known asMotown MansioninDetroit'sBoston-Edison Historic District

In 1967, Berry Gordy purchased what is now known asMotown Mansionin Detroit'sBoston-Edison Historic Districtas his home, leaving his previous home to his sister Anna and her then-husband Marvin Gaye (where photos for the cover of his albumWhat's Going Onwere taken).In 1968, Gordy purchased the Donovan building on the corner ofWoodward AvenueandInterstate 75,and moved Motown's Detroit offices there (the Donovan building was demolished in January 2006 to provide parking spaces forSuper Bowl XL). In the same year, Gordy purchasedGolden World Records,and its recording studio became "Studio B" to Hitsville's "Studio A".

In the United Kingdom, Motown's records were released on various labels: at firstLondon(only the Miracles' "Shop Around" / "Who's Lovin' You"and" Ain't It Baby "), thenFontana( "Please Mr. Postman" by the Marvelettes was one of four) and thenOriole American( "Fingertips"by Little Stevie Wonder was one of many). In 1963, Motown signed with EMI'sStatesidelabel ( "Where Did Our Love Go"by the Supremes and"My Guy"by Mary Wells were Motown's first British top-20 hits). Eventually, EMI created theTamla Motownlabel ( "Stop! In the Name of Love"by the Supremes was the first Tamla Motown release in March 1965).

Los Angeles: 1972–1998

After the songwriting trioHolland–Dozier–Hollandleft the label in 1967 over royalty-payment disputes, Norman Whitfield became the company's top producer, turning out hits for the Temptations, Marvin Gaye, Gladys Knight & the Pips and Rare Earth. In the meantime Berry Gordy established Motown Productions, a television subsidiary which produced TV specials for the Motown artists, includingTCB,with Diana Ross & the Supremes and the Temptations,Diana!with Diana Ross, andGoin' Back to Indianawiththe Jackson 5.The company loosened its production rules, allowing some of its longtime artists the opportunity to write and produce more of their own material. This resulted in the recordings of successful and critically acclaimed albums such asMarvin Gaye'sWhat's Going On(1971) andLet's Get it On(1973), andStevie Wonder'sMusic of My Mind(1972),Talking Book(1972), andInnervisions(1973).

Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los Angeles. The company moved all of its operations to Los Angeles in June 1972, with a number of artists, among themMartha Reeves,the Four Tops, Gladys Knight & the Pips, and many of theFunk Brothersstudio band, either staying behind in Detroit or leaving the company for other reasons. By re-locating, Motown aimed chiefly to branch out into the motion-picture industry, and Motown Productions got its start in film by turning out two hit-vehicles forDiana Ross:theBillie Holidaybiographical filmLady Sings the Blues(1972), andMahogany(1975). Other Motown films would includeScott Joplin(1977),Thank God It's Friday(1978),The Wiz(1978) andThe Last Dragon(1985).Ewart Abner,who had been associated with Motown since the 1960s, became its president in 1973.

John McClain, anA&M Recordsexecutive, opined that Motown leaving its birth city marked a decline in the label's quality. "Something happened when [Motown] left Detroit and came to [Los Angeles]," he said. "They quit being innovators and started following trends. Before, Berry had a much more hands-on approach. And maybe you lose some of your desire after you get to a certain level financially."

By the 1970s, the Motown "hit factory" had become a target of a backlash from some fans of rock music. Record producerPete Watermanrecalls of this period: "I was a DJ for years and I worked for Motown – the press at the time, papers likeNME,used to call it Toytown. When I DJ'd on thePolycircuit, the students wanted me to playSpooky ToothandVelvet Underground.Things don't change. Nowadays, of course, Motown is hip. "

Despite losing Holland–Dozier–Holland, Norman Whitfield, and some of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, includingLionel Richieand theCommodores,Rick James,Teena Marie,theDazz Band,Jose FelicianoandDeBarge.By the mid-1980s, Motown had started losing money, and Berry Gordy sold his ownership in Motown toMCA Records(which began a North American distribution deal with the label in 1983) and Boston Ventures in June 1988 for $61 million. In 1989, Gordy sold the Motown Productions TV/film operations to Motown executiveSuzanne de Passe,who renamed the companyde Passe Entertainmentand continues to run it as of 2018.Gordy continued to retain the Jobete music publishing catalog, selling it separately toEMI Music Publishingin parts between 1997 and 2004.It is currently owned bySony Music Publishing(Sony/ATV until 2021) through the acquisition of EMI Music Publishing in 2012 (as a leader of the consortium and eventually assigned full ownership in 2018).

During the 1990s, Motown was home to successful recording artists such asBoyz II MenandJohnny Gill,although the company itself remained in a state of turmoil. MCA appointed a series of executives to run the company, beginning with Berry Gordy's immediate successor,Jheryl Busby.Busby quarreled with MCA, alleging that the company did not give Motown's product adequate attention or promotion. In 1991, Motown sued MCA to have its distribution deal with the company terminated, and began releasing its product throughPolyGram.PolyGram purchased Motown from Boston Ventures three years later.

In 1994, Busby was replaced byAndre Harrell,the entrepreneur behindUptown Records.Harrell served as Motown's CEO for just under two years, leaving the company after receiving bad publicity for being inefficient. Danny Goldberg, who ran PolyGram's Mercury Records group, assumed control of Motown, andGeorge Jacksonserved as president.

Final years of the Motown label: 1999–2005

By 1998, Motown had added stars such as702,Brian McKnight,andErykah Baduto its roster. In December 1998,PolyGramwas acquired bySeagram,and Motown was absorbed into theUniversal Music Group.Seagram had purchased Motown's former parent MCA in 1995, and Motown was in effect reunited with many of its MCA corporate siblings (Seagram had hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the label, but instead decided to restructure it.Kedar Massenburg,a producer for Erykah Badu, became the head of the label, and oversaw successful recordings from Badu, McKnight,Michael McDonald,and new Motown artistIndia.Arie.

Diana Ross, Smokey Robinson, Stevie Wonder, and the Temptations had remained with the label since its early days, although all except Wonder recorded for other labels for several years. Ross left Motown forRCA Recordsfrom 1981 to 1988, but returned in 1989 and stayed until 2002, while Robinson left Motown in 1991 (although he did return to releaseone more album for the labelin 1999). The Temptations left forAtlantic Recordsin 1977, but returned in 1980 and eventually left again in 2004. Wonder finally left the label in 2020.

Universal Motown: 2005–2011

Further information:Universal Motown Records

In 2005, Massenburg was replaced bySylvia Rhone,former CEO ofElektra Records.Motown was merged withUniversal Recordsto create theUniversal Motown Recordsand placed under the newly created umbrella division ofUniversal Motown Republic Group.Notable artists on Universal Motown includedDrake Bell,Ryan Leslie,Melanie Fiona,Kelly Rowland,Forever the Sickest Kids,The Veer UnionandFour Year Strong.Motown celebrated its 50th anniversary on January 12, 2009, and celebrated it in Detroit on November 20, 2009, in a black-tie Gala titled "Live It Again!" The event was hosted bySinbadand includedStevie Wonder,Smokey Robinson,the Temptations,Aretha FranklinandKid Rock.

Relaunch: 2011–present

In mid-2011, Universal Motown reverted to the Motown brand after having been separated from Universal Motown Republic Group, hiredEthiopia Habtemariamas its Senior Vice President, and operated underThe Island Def Jam Music Group.Artists from Universal Motown were transferred to the newly revitalized Motown label.On January 25, 2012, it was announced thatNe-Yowould join the Motown label both as an artist as well as the new Senior Vice President of A&R.On April 1, 2014, it was announced that Island Def Jam would no longer be running following the resignation of CEO Barry Weiss. A press release sent out by Universal Music Group announced that the label would now be reorganizing Def Jam Recordings, Island Records and Motown Records all as separate entities.Motown would then begin serving as a subsidiary ofCapitol Records.In late 2018, Motown began celebrating its 60th anniversary by reissuing numerous albums from their catalog.

Motown UK launched in September 2020 under Universal UK'sEMI Records(formerlyVirgin EMI Records) division.

Motown Records joined Interscope Capitol Labels Group in 2024.

Roster

See also:List of Motown artists

Current

Artists	Year signed	Releases (under the label)	Notes
Erykah Badu	2000	6
Kem	2003	6
Ne-Yo	2012	5	Jointly with Compound
Lil Yachty	2016	8	Jointly withQuality Control MusicandCapitol Records
Offset	2017	2	Jointly with YRN The Label (formerly with Quality Control Music and Capitol Records)
Quavo		3	Jointly with YRN The Label, Quality Control Music (formerly with Capitol Records)
Takeoff		2
Migos		2
City Girls	2018	2	Jointly with Quality Control Music and Capitol Records
Lil Baby		4
Bree Runway	2019	1	Jointly with Motown UK andEMI
Layton Greene		1	Jointly with Quality Control
Emanuel	2020	1	Jointly with Universal Music Canada
Joy Denalane		1
TheHxliday		2
Ted When		2	Jointly with Blacksmith Entertainment
Tiana Major9		3	Jointly with Zero Point Nine
Tiwa Savage		1	Jointly with Universal Music South Africa
Bankroll Freddie	2021	2	Jointly with Quality Control
Duke Deuce		3
Vince Staples		2	Jointly with Blacksmith
Hd4president		2	Jointly with The Affiliate Nation
Malachiii		1	Jointly with You'll Find Out
DQ		1	Jointly with Puzzlepiece and Zoe Boi
Meechy Baby		2	Jointly withNever Broke Again
Brandy	2022	1 (singles)	Jointly with Brand Nu
Diddy		2 (singles)	Jointly with Love Records
Lakeyah		2	Jointly with Quality Control
Leon Thomas III		3 (singles)	Jointly with EZMNY Records
P Yungin		2	Jointly with Never Broke Again
Smino		2	Jointly withZero Fatigue
YoungBoy Never Broke Again	2023	3	Jointly with Never Broke Again
NOBY		1 (singles)

Motown sound

Motown sound
Stylistic origins	Pop soul
Cultural origins	1960s,Detroit, Michigan
Subgenres
Soul metal pop-soul
Other topics
Northern soul rare groove

Motown specialized in a type of soul music it referred to with thetrademark"The Motown sound". Crafted with an ear towards pop appeal, the Motown sound typically featuredtambourinesto accent theback beat,prominent and often melodic electric bass guitar lines, distinctivemelodicandchordstructures, and acall-and-responsesinging style that originated ingospel music.In 1971,Jon Landauwrote inRolling Stonethat the sound consisted of songs with simple structures but sophisticated melodies, along with a four-beat drum pattern, regular use of horns and strings, and "a trebly style of mi xing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio".Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate,melismaticvocal riffs were avoided.Motown producers believed steadfastly in the "KISS principle"(keep it simple, stupid).

The Motown production process has been described as factory-like. The Hitsville studios remained open and active 22 hours a day, and artists would often go on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly go on tour again. Berry Gordy held quality control meetings every Friday morning, and used veto power to ensure that only the very best material and performances would be released. The test was that every new release needed to fit into a sequence of the top five selling pop singles of the week. Several tracks that later became critical and commercial favorites were initially rejected by Gordy, the two most notable being the Marvin Gaye songs "I Heard It Through the Grapevine"and"What's Going On".In several cases, producers would rework tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producerNorman Whitfielddid with "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg".

Many of Motown's best-known songs, including all the early hits forthe Supremes,were written by the songwriting trio ofHolland–Dozier–Holland(Lamont Dozierand brothersBrianandEddie Holland). Other important Motown producers and songwriters includedNorman Whitfield,William "Mickey" Stevenson,Smokey Robinson,Barrett Strong,Nickolas Ashford & Valerie Simpson,Frank Wilson,Pamela Sawyer&Gloria Jones,James Dean &William Weatherspoon,Johnny Bristol,Harvey Fuqua,Gil Askey,Stevie Wonder,and Gordy himself.

The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such asDusty Springfieldandthe Foundations.In the United Kingdom, the Motown sound became the basis of thenorthern soulmovement. Smokey Robinson said the Motown sound had little to do with Detroit:

People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' Bullshit. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. From New York, Chicago, California. Fromeverywhere.Just to record in Detroit. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they'd get the Motown sound. Listen, the Motown sound to me isnotan audible sound. It's spiritual, and it comes from the people that make it happen. What other people didn't realize is that we just had one studio there, but we recorded inChicago,Nashville,New York, L.A.—almost every big city. And we still got the sound.

The Funk Brothers

Main article:The Funk Brothers

In addition to the songwriting process of the writers and producers, one of the major factors in the widespread appeal of Motown's music was Gordy's practice of using a highly-select and tight-knit group of studio musicians, collectively known asthe Funk Brothers,to record the instrumental or "band" tracks of a majority of Motown recordings. Among the studio musicians responsible for the "Motown sound" were keyboardistsEarl Van Dyke,Johnny Griffith,andJoe Hunter;guitaristsRay Monette,Joe Messina,Robert White,andEddie Willis;percussionistsEddie "Bongo" BrownandJack Ashford;drummersBenny Benjamin,Uriel Jones,andRichard "Pistol" Allen;and bassistsJames JamersonandBob Babbitt.The band's career and work is chronicled in the 2002documentary filmStanding in the Shadows of Motown,which publicised the fact that these musicians "played on more number-one records than The Beatles, Elvis, The Rolling Stones, and The Beach Boys combined".Ashford later played onRaphael Saadiq's 2008 albumThe Way I See It,whose recording and production were modelled after the Motown sound.

Much of the Motown sound came from the use of overdubbed and duplicated instrumentation. Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines. BassistJames Jamersonoften played his instrument with only theindex fingerof his right hand, and created many of the basslines apparent on Motown songs such as "Up the Ladder to the Roof"by the Supremes.

Artist development

Artist development was a major part of Motown's operations instituted by Berry Gordy. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African-American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held of black musicians by white Americans in that era.Given that many of the talented young artists had been raised in housing projects and lacked the necessary social and dress experience, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label.The artist development department specialized primarily in working with younger, less-experienced acts; experienced performers such asJr. WalkerandMarvin Gayewere exempt from artist-development classes.

Many of the young artists participated in an annual package tour called the "Motortown Revue",which was popular, first, on the"Chitlin' Circuit",and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists.

Motown subsidiary labels

In order to avoid accusations ofpayolashould DJs play too many records from the original Tamla label, Gordy formed Motown Records as a second label in 1960. The two labels featured the same writers, producers and artists.

Many more subsidiary labels were established later under the umbrella of the Motown parent company, including Gordy Records, Soul Records and VIP Records; in reality the Motown Record Corporation controlled all of these labels. Most of the distinctions between Motown labels were largely arbitrary, with the same writers, producers and musicians working on all the major subsidiaries, and artists were often shuffled between labels for internal marketing reasons. All of these records are usually considered to be "Motown" records, regardless of whether they actually appeared on the Motown Records label itself.

Major divisions

• Tamla Records: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. Tamla is the company's original label: Gordy founded Tamla Records several months before establishing the Motown Record Corporation. The label's numbering system was combined with those of Motown and Gordy in 1982, and the label was merged with Motown in 1988. Notable Tamla artists includedSmokey Robinson & the Miracles,Marvin Gaye,Stevie Wonder,the Marvelettes,andEddie Kendricks.Tamla was briefly re-activated in 1996 as a reggae label, but only released a 12 "single byCocoa Teacalled "New Immigration Law". Tamla also had a sub-label called Penny Records in 1959; artists on that label included Bryan Brent And The Cut Outs, who recorded a single for the label entitled "Vacation Time" b/w "For Eternity" (2201). In 2023, it was announced that Tamla would be re-activated again for the first time in nearly 30 years. This time around, it will be relaunched underCapitol Christian Music Groupas an imprint devoted solely to positive R&B and hip hop.Tamla Records slogan:"The Sound that Makes the World Go 'Round".
• Motown Records: Established 1960, Motown was and remains the company's main label for mainstream R&B/soul music (and, today,hip-hop musicas well). The label's numbering system was combined with those of Tamla and Gordy in 1982, and the label (and company) was purchased byMCAin 1988. Notable Motown artists have includedMary Wells,the Supremes,Four Tops,the Jackson 5,Michael Jackson,Jermaine Jackson,Boyz II Men,Commodores,Lionel Richie,Dazz Band,Brian McKnight,98 Degrees,andErykah Badu.Motown Records slogan:"The Sound of Young America".
• Gordy Records: Established 1962, Gordy was also a primary subsidiary for mainstream R&B/soul music. Originally known asMiracle Records(slogan:"If It's a Hit, It's a Miracle"), the name was changed in 1962 to avoid confusion with the Miracles singing group. The label's numbering system was combined with those of Motown and Tamla in 1982, and the label was merged with Motown in 1988. Notable Gordy artists includedthe Temptations,Martha and the Vandellas,the Contours,Edwin Starr,Rick James,The Mary Jane Girls,Teena Marie,Switch,andDeBarge.Gordy Records slogan:"It's What's in the Grooves that Counts".

One of Tamla Motown logos

• Tamla Motown Records: Motown's non-USlabel, established in March 1965 and folded into the regular Motown label in 1976. Distributed byEMI,Tamla Motown issued the releases on the American Motown labels, using its own numbering system. In some cases, Tamla Motown would issue singles and albums not released in the United States (for example, the singles "I Second That Emotion"and"Why (Must We Fall in Love)"by Diana Ross & the Supremes with the Temptations, as well as the successfulMotown Chartbustersseries of albums).

Secondary R&B labels

• Check-Mate Records: Short-lived (1961–1962) R&B/soul subsidiary, purchased fromChess Records.Notable artists includedDavid Ruffinand The Del-Phis (laterMartha and the Vandellas).
• Miracle Records: Short-lived (1961) R&B/soul subsidiary that lasted less than a year. Some pressings featured the infamous tagline, "If it's a hit, it's a Miracle." RenamedGordy Recordsin 1962. Notable releases included early recordings byJimmy Ruffinandthe Temptations.
• MoWest Records: MoWest was a short-lived (1971–1973; 1976 in UK) subsidiary for R&B/soul artists based on the West Coast. Shut down when the main Motown office moved to Los Angeles. Notable artists includedLesley Gore,G. C. Cameron,the Sisters Love,Syreeta Wright,the Four Seasons,Commodores(their first two singles in 1972 and 1973),The Devastating Affair,and Los Angeles DJTom Clay.Unlike other Motown releases in the UK that were released by Tamla Motown, MoWest retained its US label design and logo for its UK releases as well. In fact, MoWest lasted longer in the UK up until 1976.
• Motown Yesteryear: a label created in late 1970s and used through the 1980s for the reissues of 7-inch singles from all eras of the company's history, after printing in the initial label has ceased.One Motown Yesteryear single madeBillboard's Top 40 –the Contours' "Do You Love Me", in 1988, when its inclusion in the filmDirty Dancingrevived interest.
• Soul Records: Established in 1964, Soul was a R&B/soul subsidiary for releases with less of ajazzfeel and/or more of abluesfeel. Notable Soul artists includedJr. Walker & the All-Stars,Shorty Long,Gladys Knight & the Pips,the Originals,the Fantastic Four,andJimmy Ruffin.The label was dissolved in 1978. This label has no affiliation with the short-lived S.O.U.L. Records, an early 1990s imprint that was founded by the production teamthe Bomb Squad.
• V.I.P. Records: Established in 1964, V.I.P. was an R&B/soul subsidiary. Notable artists includedthe Velvelettes,the Spinners,the Monitors,the ElginsandChris Clark.V.I.P. also was the outlet for pop records that were leased to Motown by EMI (the distributor of Tamla-Motown in Europe). The label was dissolved in 1974.
• Weed Records: A very short-lived subsidiary. Only one release,Chris Clark's 1969CC Rides Againalbum, was issued. This release featured the tongue-in-cheek tagline: "Your Favorite Artists Are On Weed". The logo was a parody of the "Snapping Fingers" logo forStax Records,but the hand in this case is holding up a peace sign.The name "Weed Records" is now owned by the Tokyo/New York-basedWeed Records.

Additional genre labels

Country

• Mel-o-dy Records.: Established in 1962 as a secondary R&B/soul music subsidiary, Mel-o-dy later focused on whitecountry musicartists. Notable Mel-o-dy artists includeDorsey Burnette.The label was dissolved in 1965.
• Hitsville Records.: Founded asMelodyland Recordsin 1974. After theMelodyland Christian Centerthreatened legal action, the name was changed to Hitsville in 1976. Like Mel-o-dy before it, Hitsville focused on country music. Run byMike Curband Ray Ruff, Hitsville's notable artists includedRonnie Dove,Pat Boone,T. G. SheppardandJud Strunk.The label was dissolved in 1977.In the UK, Melodyland/Hitsville material was released on MoWest.
• M.C. Records: Operated 1977 to 1978 as a continuation of the Hitsville label. A joint venture between Gordy andMike Curb.The Mel-o-dy, Hitsville, and M.C. catalogs are now managed byMercury Nashville Records.

Hip hop/rap

• Wondirection Records.: A record label owned byStevie Wonder,it had one 12-inch dance release in 1983, the ten-minute rap track "The Crown" byGary Byrd and the GB Experience.
• Mad Sounds Recordings.: Short-lived hip-hop/rap subsidiary label, released five albums in the mid-1990s- includingZig ZagbyTha Mexakinz,Trendzby Trendz of Culture andRottin ta da CorebyRottin Razkals.

Jazz

• Workshop Jazz Records.: Motown'sjazzsubsidiary, active from 1962 to 1964. Notable Workshop Jazz artists included the George Bohannon Trio,Earl WashingtonAll Stars, andFour Tops(whose recordings for the label went unissued for 30 years). The Workshop Jazz catalog is currently managed byVerve Records.
• Blaze Records.: A short-lived label featuring aJack Ashfordinstrumental released in September 1969, "Do The Choo-Choo" with b-side "Do The Choo-Choo Pt II" written by L. Chandler, E. Willis, J. Ashford, with label number 1107.
• Mo Jazz Records.: Another jazz label created in the 1990s, this was Motown's most successful jazz imprint. Notable artists includedNorman Brown,Foley,Norman Connors,and J. Spencer. It also reissued instrumental albums likeStevie Wonder's 1968 albumEivets RednowandGrover Washington Jr.'s CTI/Kudu albums under the Classic Mo Jazz subsidiary. This label (including its roster and catalog) was folded into Verve Records after the PolyGram/Universal merger.

Rock

• Rare Earth Records.: Established in 1969 after the signing ofRare Earth(after whom the label was named), Rare Earth Records was a subsidiary focusing on blues-oriented and progressive rock styles.Notable acts included Rare Earth,R. Dean Taylor,Pretty Things,Toe Fat,XIT,andStoney & Meatloaf.The label also was the subsidiary to house the first white band signed to Motown,the Rustix.
• Prodigal Records.: Purchased by Motown in 1976, Motown used Prodigal Records as a second rock music subsidiary; a successor label to Rare Earth Records.The Rare Earth band moved over to the label following the Rare Earth label's demise. Pop singerCharlene's #3 pop single for MotownI've Never Been To Mewas originally released and charted on this label in 1977 (#97). Prodigal was dissolved in 1978.
• Morocco Records.: Acronym for "MOtownROCkCOmpany ". As the name suggests, Morocco was a rock music subsidiary. Active from 1983 to 1984, it was a short-lived attempt to revive the Rare Earth Records concept. Only seven albums were released on the label. Its two most promising acts,Duke Jupiterand theblacknew wavetrioTiggi Clay(via their lead singer,Fizzy Qwick) eventually moved to the parent label.

Other

• Divinity Records.: Short-lived (1962–1963) gospel subsidiary. With five releases by artists- Wright Specials, Gospel Stars, Bernadettes, andLiz Lands.Label sequence starts at 99004 to 99008, the final recording being "We Shall Overcome"(for label number 99008) that was recorded in theGraystone Ballroom,was withdrawn and transferred to GORDY 7023B as the "I Have A Dream"speech by Rev. Dr.Martin Luther King Jr.
• Black Forum Records.: Short-lived (1970–1973)spoken-wordsubsidiary that focused mainly on albums featuring progressive political and pro-civil rights speeches/poetry. Black Forum issued recordings by the Rev. Dr.Martin Luther King Jr.,Stokely Carmichael,Elaine Brown,Langston Hughes,Margaret Danner,and others.
• Natural Resources: This label was active from 1972 to 1973 and in 1976 as a minor subsidiary for white artists and instrumental bands. It later served as a label for Motown, Tamla and Gordy reissues and Motown compilation albums in 1978 and 1979.
• Motown Latino Records.: Short-lived (1982) subsidiary forSpanish-languageLatin American music.Its only artist wasJose Feliciano.
• Gaiee Records.: Only one single was released on this label, in 1975; Valentino's gay/lesbian anthem "I Was Born This Way",which was later covered by fellow Motown artistCarl Beanin 1977.

Independent labels distributed by Motown

• Biv 10 Records:A hip-hop/R&B label that was founded byBell Biv Devoe/New EditionmemberMichael Bivins.The label operated throughout most of the 1990s. Its roster includedAnother Bad Creation,Boyz II Men,and702.
• Chisa Records: Motown released output for Chisa, a label owned byHugh Masekela,from 1969 to 1972 (prior to that, the label was distributed by Vault Records).
• CTI Records:Motown distributed output for CTI Records, a jazz label owned byCreed Taylor,from 1974 to 1975. CTI subsidiaries distributed by Motown included Kudu Records, Three Brothers Records, and Salvation Records. With a few exceptions, the bulk of CTI's recordings is now owned bySony Music Entertainment.
• Ecology Records: A very short-lived label owned bySammy Davis Jr.and distributed by Motown. Only release: single "In My Own Lifetime" / "I'll Begin Again", by Davis in 1971.
• Gull Records: A UK-based label still in operation, Motown released Gull's output in the US in 1975. Gull hadJudas Prieston its roster in 1975, but their LPSad Wings of Destiny,intended for release by Motown in the US, was issued after the Motown/Gull Deal had fallen through.
• Manticore Records:A record label created by the members of the rock groupEmerson, Lake & Palmer.Manticore released albums by ELP and various otherProgressive rockartists. Manticore was originally distributed in the U.S. byAtlantic Recordsfrom 1973 to 1975 but switched to Motown distribution until the label folded in 1977.
• Never Broke Again:A record label founded byYoungBoy Never Broke Again.The label releases compilation albums and has its own artists signed to the Motown/ NBA imprint.
• EZMNY Records,Ty Dolla Sign's record label that signedLeon Thomas III.

Miscellaneous labels associated with Motown

• Groovesville Records
• Inferno Records
• IPG Records
• Rayber Records
• Ric-Tic Records
• Rich Records
• Summer Camp Records
• Tabu Records

British (pre-Tamla Motown) labels

• London American Recordsissued the releases for Motown from 1960 to 1961.
• Fontana Recordsissued the releases for Motown from 1961 to 1962.
• Oriole American Recordsissued the releases for Motown from 1962 to 1963.
• Stateside Recordsissued the releases for Motown from 1963 to 1965, when the Tamla Motown label was created.

See also

• Album era
• Hitsville USA
• Motown discography
• Music of Detroit

References

Print sources

• Flory, Andrew (2017).I Hear a Symphony: Motown and Crossover R&B.University of Michigan Press.ISBN978-0-472-12287-5.

Further reading

• Jon Fitzgerald (January 1995). "Motown Crossover Hits 1963–1966 and the Creative Process".Popular Music.14(1). Cambridge University Press: 1–11.doi:10.1017/s0261143000007601.JSTOR853340.S2CID161468204.
• Nelson George(2007) [first published 1985].Where Did Our Love Go?: The Rise & Fall of the Motown Sound.University of Illinois Press.ISBN9780252074981.
• Andrew Flory (2017).I Hear a Symphony: Motown and Crossover R&B.University of Michigan Press.ISBN9780472036868.
• Richard Niles (2007). "The Motown Sound".The Invisible Artist: Arrangers in Popular Music (1950 - 2000): Their Contribution and Techniques(PhD thesis).Brunel University.pp. 102–114.

External links

• Official Motown Records websiteArchivedMarch 5, 2021, at theWayback Machine
• Official Classic Motown website
• The Motown Museum
• Complete discography of pre-1986 Motown singles
• Complete discography of pre-1986 Motown albums
• Motowndiscography atDiscogs
• Motown artistsinterviewed on thePop Chronicles(1969)
• What Makes Motown Sound Like Motown?at Reverb,Archive
• The Motown Invasion,2009 BBC Documentary, at YouTube